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I didn't realise they're releasing an srd

Hey All, Apologies if this has been covered elsewhere, I could only find a couple posts and they seemed about 15 years old! I've been recording in 48k 16bit as standard for film/tv stuff, but I'm just wondering if this is still the industry standard, or if I should be recording at 24bit? I'm not asking which is technically 'better', as we all know 24bit is the winner, I'm asking what bit depth do you record in? And what is the expected bit depth these days? Thank you all you lovely people!

thanks for the suggestions guys! yes the TC is also triggering the record function on the mix pre, but the TC lag or duplication or whatever it is seems like a pretty lousey bug, it basically makes the function useless. SD should be able to fix that. i have an hdmi cable arriving today to see if i can trigger with that while the mixpre sends TOD TC to the camera, but its another (poor quality, lossy) cable that i dont want hanging out the back of the camera / mixer, if it was all locking connectors i wouldnt mind. i dont want the hassle of messing about with waveforms in post if i can avoid it (its the only work around at the moment as ive been recording a backup scratch audio on the camera itself) but im going to be shooting multi cam setups so TDO TC is the preferred way of syncing all the cameras (unless you guys have other suggestions?) im using the mix pre for the 32bit float, i actually have it mounted on rods with the pots facing me so i can sort of mix levels while filming (I am a feature doc filmmaker, often working in difficult / remote / dangerous situations) but the 32bit float means i can recover anything blown out etc. i also do sometimes have 2/3 lavs plus the shotgun. also mounted on the back actually helps with the balance of the camera as i have a heavy cine zoom lens on the front that makes it very front heavy otherwise! Just 1 dual RX hot shoe mounted feeding the mixpre, or i can change the bottom and make it a slot in

Absolutely! Inside a vapid indoor practice field? Inside a large stage? Large warehouse?? Wideshots on top of the above? The cs-m1 would not be my 1st choice

I have the INV-6 (black) and INV-6 Heavy (Gray) depending on if I'm using a furry or doing more running and gunning. I also use the Gray INV-6 with my DPA 4017c, as the black has a bit too much flx even with foam

For me… rycote inv-lite 19 For indoors zep no10 for outdoors with olde skool rycote rubberbands and connbox (others recommended cinela but this setup worked best for me personally with some frankensteining parts on hand after lots of trial and error battling handling noise)

Hang in there for the SRd receivers, reduced weight plus a familiar form factor. And digital.

My COS-11's that are wired for servo bias have gold serial number bands. I also have two "universal" wired 11's and they have silver serial number bands.

OK all you CS-M1 aficionados... What mounts are you using with it? Rycote INV-6? Rycote KSM1? Cinela OSIX 1? (or whatever's the correct mount; their website is "coming back soon.") Other?

Larry, it was wired per the diagram labeled "COS-11 normal" at this link - https://sanken-mic.com/en/qanda/index.cfm/11.20 It was a rental package, so I assume they have it right, but I checked anyway. [edit] The above is wrong - it was wired per "COS-11 red mark" and it does have a red band on the cable. There was no resistor inside the connector.

RunandGun, you make some interesting points. Being backwards compatible with lectros digital and anologue systems. At the monent, not a big deal but in a few years might make my src's rendundat on certain sets. If im also being honest, switching from 411's many years ago I was always disappointed with the range of the sr series comparatively, I however looked past this to have the advantages of sr's size and weight. It was enlightening when I could run 3 src's with a 633 out of a bag. A tiny yet powerful package that could cover 80 percent of my work. And a side bonus, my back has never felt better! Constantin, it's great that your getting similar range to the 411. Ive read its got upgraded front end tracking that the 411 had and im glad to hear its a solid performance wise. Have you used it much in high rf / multi radio mic scenarios. I always found that's when the src's fell over a little?

I can attest to how horrible a mic with the wrong wiring can sound. When Lectro first implemented servo bias Tx's, not a lot of us knew about the difference in wiring required for the mic's. I actually sent back an entire SRb system and had it swapped out for a brand new one, only to have it sound just as bad. Then my dealer, obviously not wanting to swap out another system, contacted Lectro and found out the lav's needed to be wired differently. Problem solved.

Hi Paul, For further trouble shooting, what is the actual wiring of the mic? Best Regards, Larry Fisher

I don’t have an SRC to compare it with, but the 822 is a great piece if gear and very solid and very reliable. Range is on par or better than 411a, Venue in ratio mode, and certainly better than my SRBs. Backwards capability is great, as well. two disadvantages compared to the SRC: it’s not Wireless Designer compatible at the moment. I can’t understand why they can’t get it done or why they even released the 822 before it was ready for WD, but that’s how it is. Just like the 411a and any other non-slot in receiver, this one’s much trickier to install as part of a larger system.

Oh, if only it could be so Moe.

Paul, Go digital. Moe

thanks @Matthias Richter, I really appreciate your experience and conclusions!

I have an 15 years old Maxi3seg - no problem. A new Maxi4seg - no prob. Just the new Maxi3seg is problematic. Since it happened with 2 different handle-Segments now one could assume that it’s a design flaw with that particular model. I don’t know …

That's a good thought. I checked the wiring and it is correct. Please keep the ideas coming.

That is interesting, thanks for sharing. It doesn't seem the LR mix has any limiter options or at least I can't find it on my Mixpre-3 II. Otherwise it could be an option to monitor the LR mix.

My bad! Thought I read you were using a ZMT3

This is one thing i might be misunderstanding - shouldnt the zmt4 that i am speaking of using with this setup in this thread be appropriately compatible with a 6060?

Could it have something to do with the wiring of the lav? Bias vs. non-bias?

As always, thanks for the help Larry. While that did change the settings on the F8 (G3@33db, Lectro@10db), the noise level on the Lectrosonics is still significantly louder than the G3. That is surprising. While nice, I don't need the features that these upper tier systems provide. The one thing I wanted was a better noise floor. I had a system in the Trew cart a couple of times, but I just couldn't hit the buy button without listening to at least one of these systems. Now I don't know what to do.

@Matthias Richtergreat to know that! Im just about to buy one. But ate same time living in Brazil is always incredibly hard for this kind of dynamics. Its truly expensive and take ages to send anything out of the country and receiving it back. Sometimes the price of doing all this is just like buying a new one. Any kind of gear - sound-wise speaking - its between 2 to 4 times the real price of anything in world due our import and customs taxes. So, maybe not buying a Panamic soon. But, can I ask something more ? ..Do you think that this issue is related to specific model Line or maybe just a specific model.. or it could happen with all of them ?